Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for ... See full summary »
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the ... See full summary »
Strippers in Manhattan are being stalked and murdered by a psycho. A hard-nosed police detective and a conflicted ex-boxer-turned-private-eye, hired by the strip club owners, set out to find him before he strikes again.
Billy Dee Williams,
An artist slowly goes insane while struggling to pay his bills, work on his paintings, and care for his two female roommates, which leads him taking to the streets of New York after dark and randomly killing derelicts with a power drill.
Bill is shooting architectural photographs of "futuristic" buildings of the 30's for a coffee table book commissioned by Dialta. But as he frames up a deco bingo hall, a vast airship looms ... See full summary »
Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for the Maas Corporation. Fox has accepted an offer to persuade Hiroshi to go over to the Hosaka Corporation. Sandii is a little Italian girl from Japan and she should be the way to get to Hiroshi. X is the man who should train Sandii to break Hiroshi's Heart. But if X falls in love with Sandii? And if the Hosaka Corporation breaks the agreement? And if Sandii is not a little Italian girl? Written by
Baldinotto da Pistoia
Come on, you know this better than anybody, right? There's a full-scale subterranean war being waged for every shred of information. And the corporate suits are killing each other off by the thousands each year. I mean it's like the holocaust in the 20th century. Everybody knows about it, and nobody says anything about it. And government is as culpable as any corporation.
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When making movies out of fiction, most of the time it doesn't work, unless the original text is purely telegraphic in style. If it's good prose, it's not usually the larger actions that we see that make it good - it's something more ethereal within the style itself that give it quality. William Gibson's noir-influenced techno-satire would seem perfect for adaptation, but anyone who's suffered through (or even enjoyed) JOHNNY MNEMONIC suddenly realizes that the characters' tough-guy dialog sounds utterly preposterous when actually voiced by a human being.
In NEW ROSE HOTEL, director Abel Ferrara finds the emotional heart of a very spare Gibson short (one of the best things Gibson's ever written, and blessedly short on actual dialog) and creates a recognizable near- future world and characters who seem as comfortable with this subtly accelerated reality as we of 2005 are with plasma-screen TVs and mobile phones. The structure of the film can be extremely off-putting to those without enormous patience - it's very slow-paced, and halfway through we see the almost the entire story over again, but very slightly changed. As far as I can tell, most of the scenes were shot twice from different angles. The entire point of Abel Ferrara's approach is to visually represent the phrase, "If only I knew then what I know now". NEW ROSE HOTEL really needs to be seen at least twice to be understood, and only lets go of the intelligence and daring of the direction and the performances after repeated viewings.
Christopher Walken plays Christopher Walken, under the guise of the character "Fox", but I've rarely seen Walken so simultaneously comfortable and affected in any other role. Willem Dafoe has to play younger than he looks, and we get to watch his character learn what a fool he's been, writhing with embarrassed disgust and fear as he discovers that the source of his predicament is his own stupidity and sentimentality. A very young-looking Asia Argento plays Sandii with more depth than she is regularly given credit for - her style is so subtle and genuine that she hardly seems to be acting, and as far as I've seen, she isn't, but she's so sexy and vulnerable that I'm more than willing to watch.
It's a shame this film is so under-appreciated; it's definitely my favorite Ferrara film, and one of my top two Christopher Walken films. And lots of Asia in her underwear - what's not to love?
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